By Paul Hammond
This publication explores the complicated ways that authors, publishers, and readers contributed to the making of recovery poetry. The essays partly I map a few valuable facets of recovery poetic tradition: how poetic canons have been validated via either print and manuscript; how censorship operated in the manuscript transmission of erotic and politically delicate poems; the poetic features of authorial anonymity; the paintings of allusion and intertextual reference; the interpretation and edition of classical poetry; and the poetic representations of Charles II. half II turns to person poets, and charts the making of Dryden's canon; the ways that Mac Flecknoe operates via intertextual allusions; the connection of the variation texts of Marvell's "To his Coy Mistress"; and the remedy of Rochester's canon and textual content through his sleek editors. The discussions are complemented through illustrations drawn from either revealed books and manuscripts. PAUL HAMMOND is Professor of Seventeenth-Century Literature on the college of Leeds.
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Additional resources for The Making of Restoration Poetry (Studies in Renaissance Literature)
Plate 2. Poems. By the Incomparable, Mrs. K. P. (London, 1664), imprimatur and title page; and Poems By the most deservedly Admired Mrs. Katherine Philips The matchless Orinda (London, 1667), frontispiece portrait and title page. The 1664 octavo edition published by Marriott seems to have been unauthorized (though, as the imprimatur shows, it was not pirated); the grander quarto edition of 1667, complete with portrait bust, was published by Herringman, whose list included most of the principal poets of the 1660s.
43 From such loose texts, or from bundles of such texts assembled into micro-canons of related satirical or erotic poems, the scribes working for commercial scriptoria wrote out substantial manuscript volumes for sale to wealthy patrons. 44 They are often 39 40 41 42 43 For the importance of MSS in this period see Beal, Index; Peter Beal, In Praise of Scribes: Manuscripts and their Makers in Seventeenth-century England (Oxford, 1998); Harold Love, Scribal Publication in Seventeenth-Century England (Oxford, 1993); Harold Love, ‘Oral and Scribal Texts in Early Modern England’ in Barnard and McKenzie, pp.
Macdonald, Bibliography, pp. 3–4. 6 The Restoration Poetic Canon in the Beaumont and Fletcher folio and in the Shakespeare Fourth Folio, makes Herringman a dominant figure in early Restoration culture. 18 Tonson’s career had begun cautiously in 1675 with two conduct books, but in 1679 he published Dryden’s Troilus and Cressida, marking the beginning of a long association between the two men. This provided Dryden with new opportunities, particularly for classical translation, and gave Tonson a prolific, popular, and controversial author of the first rank to act as the mainstay of his catalogue.